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The possession sub-genre of horror is nothing new. From classics such as “The Exorcist,” and “The Omen,” to James Wan’s nouveau horror franchises in “The Conjuring,” and “Insidious,” it’s been done to death (pun fully intended). But the successful formula provides a framework ripe for iteration. And that’s exactly what “The Possession of Hannah Grace,” aims yet ultimately fails to accomplish: deliver a fresh supernatural horror romp.
On her first shift, a strange man violently demands to be admitted into the morgue. Reed denies him entry, instead informing security guards Dave (Maximillian McNamara) and Ernie Gainor (Jacob Ming-Trent). Shortly thereafter, EMT Randy (Nick Thune) arrives with a mauled corpse, eventually identified as Hannah Grace. Upon attempting to photograph the corpse and take fingerprints, the camera bugs out and the computer spits out the fingerprints as illegible. As the evening progresses, things in the morgue continue to unravel.
“The Possession of Hannah Grace,” begins with a typical supernatural horror set up in its exorcism scene before taking a hard left. Unfortunately, it doesn’t quite veer enough to lend a fresh take to the genre. In fact, the Diederik van Rooijen-directed film is absolutely ridden with tropes. It’s ripe with all the trappings of a possession flick, from the telekinetic powers to ominous warnings from mysterious strangers. And Megan’s character is a complete archetype as the former hardened cop now struggling with depression and drug addiction, complete with an overly-protective ex-boyfriend in Boston’s Finest Andrew Kurtz (Grey Damon).
Yet, the movie offers occasional glimpses at what it could, and should, have been. Technically, “The Possession of Hannah Grace,” glistens with slick eye-candy visuals. The use of lighting, or lack thereof, is exquisite. The screen oozes dark blacks punctuated by sparse but vivid lighting. The harsh fluorescents illuminate intentionally, and one particular hallway features a prominently-placed section of interior lighting that not-so-subtly resembles a cross. A deafening silence crafts an eerie backdrop, occasionally interrupted by John Frizzell’s cacophonous score comprised of jarring piano riffs and crescendoing strings.
Maddeningly, the film never quite manages to scare despite its best attempts. And its flashes of brilliance, particularly its marvelous sound design and cinematography, make it frustratingly disappointing. Despite its ample potential, “The Possession of Hannah Grace,” doesn’t iterate on the genre but rather remains a stale, cliche-addled romp. All the trappings of a novel spin on a possession tale are present, but the execution fails miserably. While it’s not completely uninteresting to watch, “The Possession of Hannah Grace,” is about as lifeless as the titular Hannah.
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